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BERGMAN PRODUCTIONS. Visual storytelling that creates human connections in an age of digital division. Make a Connection! Why Work With Us? In an over-saturated and fragmented digital marketplace, we help our clients tell genuine stories that humanize their brand’s marketing communications and advertising.
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Feb 27, 2024 · 🌟 As we continue to grow and bring our unique blend of video and photo storytelling to more brands, we're thrilled to share that Bergman Productions has expanded its horizons! We now have operational bases in three key cities: Portland, Oregon; Boise, Idaho; and Salt Lake City, Utah. 🌲🏞️🌆
- Lake Oswego, OR 97035
- joe@bergmanproductions.com
- (503) 528-4381
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Ingmar Bergman (born July 14, 1918, Uppsala, Sweden—died July 30, 2007, Fårö) Swedish film writer and director who achieved world fame with such films as Det sjunde inseglet (1957; The Seventh Seal); Smultronstället (1957; Wild Strawberries); the trilogy Såsom i en spegel (1961; Through a Glass Darkly), Nattsvardsgästerna (1963; The Communicants, or Winter Light), and Tystnaden (1963; The Silence); and Viskningar och rop (1972; Cries and Whispers). He is noted for his versatile camerawork and for his fragmented narrative style, which contribute to his bleak depiction of human loneliness, vulnerability, and torment.
(Read Martin Scorsese’s Britannica essay on film preservation.)
Bergman was the son of a Lutheran pastor and frequently remarked on the importance of his childhood background in the development of his ideas and moral preoccupations. Even when the context of his film characters’ sufferings is not overtly religious, they are always implicitly engaged in a search for moral standards of judgment, a rigorous examination of action and motive, in terms of good and bad, right and wrong, which seems particularly appropriate to someone brought up in a strictly religious home. Another important influence in his childhood was the religious art Bergman encountered, particularly the primitive yet graphic representations of Bible stories and parables found in rustic Swedish churches, which fascinated him and gave him a vital interest in the visual presentation of ideas, especially the idea of evil as embodied in the Devil.
Bergman attended Stockholm University, where he studied art, history, and literature. There for the first time he became passionately involved in the theatre and began writing and acting in plays and directing student productions. From these he went on to become a trainee director at the Mäster Olofsgärden Theatre and the Sagas Theatre, where in 1941 he produced a spectacularly unconventional and disastrous production of the Swedish playwright August Strindberg’s The Ghost Sonata. In 1944 he was given his first full-time job as a director, at Helsingborg’s municipal theatre. Also, and more importantly, he met Carl-Anders Dymling, the head of the Svensk Filmindustri. Dymling was sufficiently impressed by him to commission an original screenplay, Hets (1944; Frenzy, or Torment). This was directed by Alf Sjöberg, then Sweden’s leading film director, and was an enormous success, both at home and abroad. Largely as a result of this success, Bergman was, in 1945, given a chance to write and direct a film of his own, Kris (1946; Crisis), and from this point on his career was under way.
Britannica Quiz
Oscar-Worthy Movie Trivia
The films that Bergman wrote or directed, or both, in the next five years were, if not directly autobiographical, at least very much concerned with the sort of problems that he himself was encountering at that time: the role of the young in a changing society, ill-fated young love, and military service. At the end of 1948 he directed his first film based on an original screenplay of his own, Fängelse (1949; Prison, or The Devil’s Wanton). It recapitulated all the themes of his previous films in a complex, perhaps overambitious story, built around the romantic and professional problems of a young film director who considers making a film based on the idea that the Devil rules the world. While this is not to be taken without qualification as Bergman’s message in his early work, it may at least be said that his imaginative world is divided very sharply between the worlds of good and evil, the latter always overshadowing the former, the Devil lying in wait at the end of each idyll.
In 1951 Bergman’s career in films, like nearly the whole of Swedish filmmaking, came to an abrupt halt as the result of a major economic crisis in Sweden. But in 1952 he returned with the film Kvinnors väntan (Waiting Women, or Secrets of Women), which was followed by Sommaren med Monika (Summer with Monika, or Monika) the following year. These movies marked the beginning of his mature work. In 1952 he also was appointed director of the Malmö municipal theatre, where he remained until 1959. This new phase introduced two markedly new characteristics in his work. In subject matter, Bergman, now himself married, returned again and again to the question of marriage. Viewing it from many angles, he examined the ways by which two people adjust to living together, their motives for being faithful or unfaithful to each other, and their reactions to bringing children into the world. At this time Bergman began to gather around him, in his film and stage productions, a faithful “stock company” of actors—including Bibi Andersson, Gunnar Björnstrand, Eva Dahlbeck, Erland Josephson, Ingrid Thulin, Liv Ullmann, and Max von Sydow—with whom he worked regularly to give his work and their interpretation of it a manifest consistency and style.
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